AMOUR

Michael Haneke’s “Amour” has won Best Foreign Language Film at the 85th annual Academy Awards. It falls in line with films like “Crouching Tiger, Hidden Dragon” and “Life is Beautiful” which were nominated for Best Picture and won the award in this category.

Filed in: HitFix · In Contention

'Amour' dominates the César Awards, 'Argo' wins Best Foreign Film

Posted by Kristopher Tapley · 2:32 pm · February 22nd, 2013

The César Awards aren’t quite the final stop on the circuit for “Amour” ahead of Sunday’s Oscars. There is still the Independent Spirits Awards tomorrow. But it’s probably the last opportunity for the film to have a big final hurrah of the season, and it seized it.

Filed in: HitFix · In Contention

Oscar Guide 2013: Best Picture

Posted by Kristopher Tapley · 8:33 am · February 22nd, 2013

Is ‘Argo’ set to complete its big sweep?

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Oscar Talk: Ep. 107 — Final stabs in the dark

Posted by Kristopher Tapley · 8:00 am · February 22nd, 2013

In this week’s podcast, Kris and Anne offer up their final predictions for the 85th annual Academy Awards.

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Roundup: The greatest hits of Roger Deakins

Posted by Guy Lodge · 5:15 am · February 22nd, 2013

Also: Does the Academy still have a blockbuster blind spot?

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The Long Shot: When good enough is good enough

Posted by Guy Lodge · 7:50 pm · February 20th, 2013

Why ‘Argo’ is right for Oscar, plus my latest predictions.

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Roundup: The case against 'Argo'

Posted by Guy Lodge · 5:15 am · February 19th, 2013

Also: Why black characters still fall short in this year’s Oscar crop.

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Oscar Guide 2013: Best Writing – Original Screenplay

Posted by Guy Lodge · 6:30 am · February 16th, 2013

‘Amour,’ ‘Django Unchained,’ ‘Flight,’ ‘Moonrise Kingdom’ and ‘Zero Dark Thirty’ square off.

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A Valentine's Day conversation with 'Amour' writer/director Michael Haneke

Posted by Kristopher Tapley · 5:39 pm · February 14th, 2013

“Amour” has come to be considered one of Haneke’s most universal and accessible works, despite sporting the same rigor as his previous work. That might be because it concerns itself with the very universal concept of love. But nevertheless, to Haneke, “there’s not a difference between my films besides the subject matter.”

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